Seeing Martin Scorsese's [Raging Bull] is like visiting a human zoo. That's certainly not to say that it's dull: good zoos are not dull. But the life we watch is stripped to elemental drives, with just enough décor of complexity—especially the heraldry of Catholicism—to underscore how elemental it basically is.
Scorsese specializes in the primitive aspects of urban life, with an emphasis on the colors and conflicts of Italian-Americans. American films have developed a latter-day line in this vein…. Most Italian-Americans may very understandably be tired of this canted concentration on gutter and crime, but they had better brace themselves: because here it is again and—which may irritate them further—done better than ever, done excellently. Scorsese has filmed the life of the boxer Jake La Motta, his rises and falls and eventual retirement, and this time Scorsese's work is purged of heavy symbolism, of film-school display, of facile portent. His directing is imaginative but controlled; egregious mannerisms have coalesced and evolved into a strong style. Some of Raging Bull is shocking, but all of it is irresistible. (p. 26)
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